It's in demand, and then there's no mention of it. Sarah Elisabeth Sawyer . Elizabeth James-Perry Multi-medium Artist Aquinnah Wampanoag elizabethjamesperry.com. So it really gave me an appreciation for how important it is to keep the environment clean, to manage your resources and make sure that there's resources for the next generation because it's not necessarily under these conditions going to happen automatically. I would say. https://homeandaway.gallery/.../elizabeth-james-perry-wampanoag It had to be portable, and it had to be handy, you know, if you're going to be successful in essentially keeping yourself alive. Meredith Vasta, Elizabeth James Perry, Jennifer Berglund. Elizabeth James-Perry Contact Information. Noepe Cuff . Through a Wampanoag Lens. He lived in Falmouth, Massachusetts, and he was a graduate of Harvard University. And so the die is actually wearing off in sections of the woolen yarn. … She has conducted research in the Northeast as well as in Europe. Thank you both for being here for the podcast! Elizabeth James-Perry Choker An exquisite traditional Wampanoag woven choker in stunning deep purple and white colors by artist Elizabeth James Perry. And they did some interesting research on it that really told us a lot about the age of the sash and possibilities of where it actually came from. She is a researcher and exhibit consultant, and owner of Original Wampum Art. And I don't think that changes over time. You needed to be ready, you needed to be wearing your powderhorn, you needed to have your piece with you. And I'll be your host. Elizabeth James-Perry—Eel Trap My name is Elizabeth James-Perry and I'm a member of the Aquinnah Wampanoag tribe on Martha's Vineyard right off the coast of Massachusetts. That's really interesting. A traditional form of Wampanoag eel trap constructed from ash splints and cedar bark for a maritime arts demonstration. Here they are. Copyright © 2008-2021 Elizabeth James Perry :: www.elizabethjamesperry.com. And so there's this idea of movement and journey, and I think a certain amount of balance and harmony in that process. Elizabeth analyzed two historical Wampanoag objects, an eel trap, and a sash worn by a guy named King Philip. It's very fragrant, almost like the scent of strawberries. Wampum Jewelry. Copyright © 2021 The President and Fellows of Harvard College, Collection of Historical Scientific Instruments, Peabody Museum of Archaeology & Ethnology. Community Spirit Awards. Her work was featured in Native Peoples magazine in 2011, in Cultural Survival magazine (view article) and she has penned an article for Dawnland Voices 2.0. Quahog clams display a range of shades along the rims and may be pure white-ivory, have a slight lavender blush, and more rarely display a deep purple-black. I mean, I don't know what my ancestors would say to that phrase, like, climate controlled. You're creating something wholesome as part of creation, and you're hoping that that confers a little bit of of happiness and good memories and protection, I think, on the person that you're giving it to whether you're making your your child's first outfit for dance, or you're making your husband's battle armor, basically. Her old-style wampum was included in Native New England Now (view publication) at the Mashantucket Pequot Museum, and was exhibited at the Peabody Essex Museum in the highly acclaimed Native Fashion Now traveling exhibit, featured on WGBH's Open Studio with Jared Bowen. That's a good way to put it. All of the wampum beads in my jewelry are Native-made. And I think that there's there's other things that are really evocative. They recently worked together on an online exhibit called "Wampanoag Voices: Beyond 1620", a project that's in part a reflection on the 400th anniversary of the arrival of the Mayflower, and the ensuing consequences to native people, but more so a celebration of the vibrant native communities of our area. This is an orca (killer whale) representation reminiscent of Northwest Coast designs. And how do you think this experience will influence future projects? There's a big difference between recapturing traditional ecological knowledge and growing up with it. Thank you so much, Elizabeth, for spending time with us today. You can see where traders are very particularly saying they want a dark brown edge, they want a blue edge, they want a white line inside of the dark brown salvage edge, so as a weaver, all of those kinds of descriptions make sense to me, because I'm used to worrying about salvage edges and keeping the edges neat and straight and standard widths, and in all too. Elizabeth James-Perry. I wanted to ask them both about the creation of this exhibit and the relevance of these objects within Wampanoag culture today. She studied it some 20 years ago and created a replica with materials gathered in the woods of Dartmouth. 2003. Do you think this piece saw a lot of battle? At its core, it's this conflict between natives resisting the ongoing colonization and spread of white settlers. Elizabeth James-Perry meets the Peabody’s Wampanoag eel trap as an old friend. 1973) N. Dartmouth Persian 3-ply wool 3 1/4" wide by 60" plus staggered 14" and 19" fringe Photo: Elizabeth James-Perry Pashpeshau: Rising Multiplicities – Indigenous Artists Speaker Series. Perry, a Wampanoag artist and registered member of the Aquinnah tribe on Martha’s Vineyard, is an emblem of the complex reality of Indigenous people’s … And tell us from your perspective, what did you know about these objects before Elizabeth took over? Through the Jennifer Easton Community Spirit Awards, we recognize the work of Native American, Alaska Native and Native Hawaiian culture bearers who uphold the Collective Spirit®. I think that the relationships are key. She believes in practicing responsible art and sustainable land/ocean stewardship. Meredith, I'm curious, what did Elizabeth's perspective as a Wampanoag artist and researcher bring to this project? And so you can still see that on the sash today. Meredith Vasta, a collection steward at the Peabody Museum of Archaeology and Ethnology, and Elizabeth James Perry, a textile artist, marine biologist and member of the Aquinnah Wampanoag tribe. Jonathan perry Aquinnah Wampanoag Traditional artist. You know, it's this conversation and this learning experience that transcends time and space. So it's thinking putting yourself in your ancestor's shoes, thinking about their day. King Philip, or his name was Metacom, was a Wampanoag Sachem, and he was important and involved in King Philip's War, which started in 1675. I've got to replace my gear. And so you've got these white glass beads that are new. Share . It is profoundly personal. There's just so much, you know, that the experience of being in the woods at certain times of day, going out at dawn and getting some cedar, the smell of the swamp. Tribes need that, you know, for a variety of ways and ways that that I can't really articulate fully. If you like today's podcast, please subscribe on Apple Podcasts, Spotify, Podbean, or wherever you get your podcasts. Centre Street Gallery Exhibition Opening Date: September 3, 2020. Artist's Website. And so I really look at the natural world so much differently. Born in 1973, contemporary and traditional Native artist Elizabeth James-Perry is an enrolled citizen of the Wampanoag Tribe of Gay Head -Aquinnah, located by the richly colored clay cliffs of Noepe (Martha’s Vineyard). And the ages vary among the ones I think that have survived in collections. It's not necessarily so simplistic to make something when there's literally three seasons of a year you have to gather just to have all the materials at the same place at the same time. Nov 21, 2013 - wampum necklace, Elizabeth James-Perry (Wampanoag) Export. For Elizabeth, we selected the sash and the eel trap, because we knew that Elizabeth was keenly interested in those, and had researched them in the past. —Elizabeth James-Perry, Wampanoag Tribe of Gay Head (Aquinnah) Listen: "You still hear folks around town asking each other, 'You see the herring run yet?'" I think when there is distancing or mistrust, things don't work out well. Where institutions are taking a look at practices and taking the time to acknowledge whose indigenous land they're situated on. And that sounds, that sounds like being dead. Three Nations Armband . She believes in practicing responsible art and sustainable land/ocean stewardship. I mean, her connection and interest is clearly not simply academic. A beautiful wampum gorget with hand-tanned deerskin tie by Elizabeth James-Perry. —Phillip Wynne, Mashpee Wampanoag Tribe of Cape Cod (Otter Clan) reflecting on a collection of dried and smoked herring Listen: "We're still by the same waters our ancestors lived on. Let me get some ash. Jewelry - Traditional Form . There's enjoyment in the moment, but there isn't necessarily in a culture where utilitarian objects are made beautiful, it's fine to use those. Meredith Vasta, a collection steward at the Peabody Museum of Archaeology and Ethnology, and Elizabeth James Perry, a textile artist, marine biologist and member of the Aquinnah Wampanoag tribe. As a member of a Nation that has lived on and harvested the sea since ancient times, Elizabeth's is a perspective that combines coastal Algonquian culture, traditional beliefs and science in her ways of relating to the North Atlantic. Artist's Website. Thank you so much for being here. It's almost like eavesdropping on a conversation between a contemporary artist and the artist who made that historical item. The only documentation that came with it was this label sewn on the reverse side with old timey handwriting, that read, "belt of the Indian King Philip from Colonel Keyes." March 24, 2017. If winter's coming early, you got to be thinking, "okay, if we get a lot of snow and it dumps on the milkweed, I'm not getting any milkweed to do my spinning. 11/6/2017 9:31 AM. So, like, the idea of art, without humans to love it, the idea of making something without someone to honor. Elizabeth James-Perry, a member of the Wampanoag Tribe of Gay Head (Aquinnah), presents a wool sash as well as an eel trap in the exhibit. And thank you so much for listening! So that's a nice touch. The artist selects her shells carefully and cuts and finishes them all in the traditional way, by hand, to preserve their attractive contours and colors.… That's very strange. Her fine art work focuses on Northeastern Woodlands Algonquian artistic expressions: Wampum carving, weaving and natural dyeing. The artist explores the rich purple of the quahog shell and soft peach conch shell, sculpturing patterned purple whale and fish effigies, large beads, leadership discs, bias collars and gauntlet cuffs. The relationships will be the foundation where you can move forward together in a good way. where we go behind the scenes of four Harvard museums to explore the connections between us, our big, beautiful world, and even what lies beyond. Awards include ribbons in the Textile & Jewelry Divisions at the annual Heard Museum Art Market, a Traditional Arts Fellowship from the Massachusetts Cultural Council for her wampum and twined basketry, and the Rebecca Blunk Award for her dedication to Northeastern arts. The herring are going to be here pretty soon. He considers designs by examining the raw . My ancestors are no different in that respect. Whatever you had in your arsenal was on your person, typically, because we weren't driving around in U-Hauls. Sarah Elisabeth Sawyer. Why or why not? You needed to have your bow, you needed to have war clubs, at the time, were also used. Jewelry . In the past, I think museums didn't see indigenous people, whose items they stewarded, as partners or collaborators. This has been so fun! How do folks use these plants now, or, you know, do they use them for dyes? materials closely, and draws his images from the grain, hues, and patina of wood, stone and copper. The artist selects her shells carefully and cuts and finishes them all in the traditional way, by hand, to preserve their attractive contours and colors. This has been really nice. Elizabeth has always brought such incredibly rich experience to the table. But then at the end of the day, you just get to sit down at the base of a tree on a tussock grass, and you take out maybe a snack bar in the modern time period. Our culture teaches us to have a healthy respect for the sea, and we … Elizabeth James-Perry is an enrolled member of the Aquinnah Wampanoag Tribe who is a master artist practicing traditional wampum jewelry and milkweed textiles. Elizabeth James-Perry is an enrolled member of the Wampanoag Tribe of Gay Head -Aquinnah, located by the richly colored clay cliffs of Marthas Vineyard/Noepe. And you watch the sunset, and it's really very nice, and very satisfying, and extremely peaceful. I'm gonna sit down with my friends and process cedar bark for all of the traps we're making. And so you can look at the width of the cloth, the type of dyes used the design work on it, and you can kind of narrow it down based on the communications going back and forth across the ocean to around circa 1710, I would say. It's what's supposed to happen. I'm curious, why make this beautiful, intricate sash to be used in battle where it could be destroyed. She received the Paul Cuffe Memorial Fellowship to research 19th-20th century Wampanoag tribal crew aboard the Charles W Morgan, which included members of the Gay Head/ Aquinnah and Christiantown /Manititoowatan island communities. The artist hand picks shells; she grinds and finishes them by hand to create one of-a-kind sculptural jewelry. It smells so sweet. I wasn't sure that maybe as a doctor, if he was trading medical services for items like these, but he got these at Mashpee directly from the community members there. Podcast was produced by me, Jennifer Berglund and the Harvard Museums of Science and Culture. And I think especially as an artist, she sees materials and dyes and techniques in such a different way than I do as not an artist. Email Finder Top Companies Company Search People Search Solutions About Us. So, the sash is interesting from a material perspective, and fortunately for me, a portion at least of early trade records where merchants were bringing goods from Europe and going to markets in places like Albany, Montreal, various points along the east coast, were bringing their items and trading with native people, you know, Native men, Native women at market. They have their special material they like to use and their spacing and the weight and the strength. I don't want that. Yeah, the eel traps are just great. Can I live with that?" “As a … That's the ground of the sash. The donor was a Dr. Lumbard Carter Jones, and he lived from 1865 to 1944. Elizabeth James-Perry is an enrolled member of the Wampanoag Tribe of Gay Head -Aquinnah, located by the richly colored clay cliffs of Marthas Vineyard/Noepe. Elizabeth James Perry and Meredith Vasta. But we were looking for items that were clearly connected to specific communities, and we do have a number of things from Mashpee and Aquinnah, so we knew exactly where they came from. I mean, sometimes when things come into the museum, it might just say it's from Massachusetts, or New England, or the eastern woodlands. March 24, 2017. You know, it was a contest over not just supremacy, but it was a contest over really, really beautiful, really, really rich territory. So I think that an interesting movement has happened, I think, across the nation, right? Elizabeth James-Perry, Aquinnah Wampanoag tribal member of Massachusetts is a life-long traditional artist, taught by family and community. She is multi-medium traditional and contemporary artist taught by her mother Patricia James-Perry, and by cousins Dr. Helen Attaquin and Nanepashemut whose knowledge and artistry was crucial to the development of the Wampanoag Indigenous Program at Plimoth Plantation Museum in the early 1970s. Is that something that the Keyes family had as family history? And then also an influx of some trade materials from England or France or Spain, wherever it's coming from. Elizabeth James-Perry is an enrolled member of the Aquinnah Wampanoag Tribe who is a master artist practicing traditional wampum jewelry and milkweed textiles. Elizabeth inherited a complex legacy as a tribal whaling descendant. You can see places that have more increased wearing off of the dye because it was very lightly dyed in order to kind of get that light colored, undulating line at the edge, so they had to sort of cheat the process and not fully saturate the cloth so they didn't ruin those patterns. So it was this experiment in in trying to cater to native tastes in New England. Wampanoag gorget $ 110.00. The sash on the other hand, about 130 years ago, in 1890, the American Antiquarian Society gifted a number of ethnological items to the Harvard Peabody, and one of them was this sash. The first item that we talked about, the eel trap, that was donated to the museum in 1917. Some of the items collected, you know, I wish I knew more about this. To recapture a lot of that technology and make it a whole heck of a lot easier on the next generation because Wow. It takes so much discipline, and it takes really paying attention to the seasons because if you snooze, you lose, as they say. You can see where it's stretched, the weaving is stretched, you can see that there's wear lines. So there's always cool stuff. We also had names of artists in some cases, and then we have a photograph as one of the items, and we have the names of the sitters in that photograph. And so when you're an artist, and literally all of your materials come from the lands you live on, and you only have access to a tiny portion, and of that portion, some of it is prone to pollution runoff from the road. View Elizabeth James-Perry's business profile . Sample of Work. Folklife Festival, Seattle, Washington. The artist's formal education includes training at the Rhode Island School of Design, and Shoals Marine Lab; she holds a degree in Marine Biology from the University of Massachusetts, and was employed in fisheries research for several years. Through connecting with the spaces and the materials and the techniques, I think I'm experiencing life the same way people have here in the northeast for thousands of years. There was times when you had to move your community's safety, didn't know if you were being pursued. Sample of Work. And again, it's centered from such a beautiful personal place. She brings such different questions to the table. How did you go about your research with the eel trap? She displays the color and contours of the shell to maximum effect. 1/4" deep x 1" wide x 6" long, plus fringe . There's a variety of ways of sharing knowledge that museums are now involved in, sometimes at the request of indigenous communities who shared generously of their knowledge, materials, techniques, genealogy, history, and the museums are keepers, but not necessarily understanding that there's still a community that would still really value that knowledge. So it was really a great question that Elizabeth and the staff at Peabody really wanted to explore. Last Update. And also for being part of this online exhibition. The technique that was used to actually stitch down the bead is quite patently Northeastern native, where instead of going down through the leather, down through the cloth, you catch the nap of a fairly thick material, so that you're not putting a lot of downward pressure and causing the surface of the fabric or the surface of the coil work beadwork to pucker in any way. What is that? I came away from it appreciating the abundant resources that past generations had. It was entirely biodegradable. I don't necessarily know, as an indigenous man in the time period, if you would literally wear your powder horn every day, but I think that there were times when there was a campaign. If the stitching doesn't go all the way through to the inside, it may be rubbing against you every day, but the stitching isn't going to break instantaneously, which, if you're going to sew down thousands of beads, that's a nice little trick, for sure. Additionally, she has conducted years of in-depth research at museum archives and collections in the United States and Europe. No signup or install needed. It's very level, and even, and the tension is really nice. But it smells amazing, and at sunset, it's warm, and it's soothing, and you've worked so hard cutting down trees and hauling them through muck and trying not to, you know, fall in sinkholes or whatever. A B O U T. Traditional singer, dancer, speaker and carver, Jonathan Perry is grounded in the traditions of his ocean-going ancestors. Elizabeth James-Perry Hand Sculpted Elongated Oval Wampum Necklace The centerpiece of this necklace is a hand sculpted elongated oval medallion of wampum, created by Wampanoag artist Elizabeth James-Perry, with a cord of hand braided linen. Elizabeth James-Perry, Lightning sash, finger woven, Wampanoag woven textiles, 2013 Elizabeth James-Perry (b. Elizabeth James-Perry (Courtesy) The objects featured include dried and smoked herring, multiple baskets, an anchor, and an eel trap, which was described by … When we're working together, I love talking with her and understanding the manufacturer, the creation, the dyes in such a totally different way, and I think her appreciation for the natural world, especially as an artist, really has rubbed off on me a lot, and now when I take walks, when I go to the Arboretum, I'm always looking at things and thinking, "I wonder how indigenous people use this in the past and in the present?" But I'll let Elizabeth speak to her experience with that. HQ Phone (508) 645-9265. As an informed citizen, but especially as an artist, when you're working with your hands and sort of living with the materials and really processing and making materials, you know, your sanding materials or shaping them and making the chemicals in them airborne, potentially, or absorbing them through your skin. I really, really admired the technical expertise. She sailed on the restored Morgan as a historic 38th Voyager. Unfortunately, we don't know who made this eel trap, but we do know that he collected it before 1892. You have the artist spinning the Indian hemp, which is an indigenous plant that we use for sewing and weaving and even some soft fiber basketry, twine basketry. You're going fishing for God's sakes, you already liked the food and you're living on the coast. You have to be there and be really present, be connected to the tides, be connected to the seasons. Meredith, would you say that working with Elizabeth changed your thinking about the ways in which we as a museum should be looking at objects? Access Elizabeth's Contact Information . When you're hunting animals all the time, you have the fiber to spend the yarn, you have the plants in abundance to dye the yarn, you have the beads you're making, or the beads later on that you're trading for. I think part of it is maybe cultural differences even over time, and the same people, sometimes. Countless generations of Wampanoag, Narragansett, Pequot, Mohegan, and Shinnecock nations have lived on the shores of the North Atlantic ocean, as evidenced by our stories, and by the scenery itself. Meredith, how did you all select these items for this online exhibit? Is this actually King Philip's sash, or was that something that the American Antiquarian Society thought? The New Bedford Whaling Museum presents a collection of contemporary art from Elizabeth James Perry. Out of the Ocean . Elizabeth James-Perry is an enrolled member of the Wampanoag Tribe of Gay Head -Aquinnah, located by the richly colored clay cliffs of Marthas Vineyard/ Noepe. The older one was wearing out, it was getting drafty, the bark was leaking. What's that? It was a really interesting question for us though. So the appearance would be a little bit different. A local Wampanoag artist, Perry works primarily with Quahog shells to create handmade pieces including belts, earrings, necklaces and more. You know, I never get tired of looking at them. So you just took everything down. I know perfectly well. And so, there is accounts of a certain type of red Stroud blanket being produced. Introducing the 2017 Community Spirit Honorees. You could recycle the poles to something smaller, and you had the resources, right, you had the resources. Who knows how long they'll be there? Perry combines the patterns on the individually cut beads to maximum aesthetic effect. There's a range of materials that were used with both the sash and the eel trap, I think also it's the human connection, right? Elizabeth James-Perry (b. Between the 1890s and the 1930s, Jones had donated over 800 books to the libraries at Harvard, and nearly 140 images and objects to the Peabody Museum from different indigenous communities all over. So it sounds like you really developed a greater understanding between the connection, between culture and environment? I'm not sure if he purchased them or perhaps traded for them. Much of Elizabeth's work focuses on early Northeastern Woodlands Native culture, including ancient wampum shell carving and reviving natural dye techniques to create a traditional palette for her finger woven sashes, bags and baskets. Aquinnah Wampanoag. So, I mean, it's all about food. Her fine artwork focuses on Northeastern Woodlands Algonquian artistic expressions: wampum shell carving and diplomacy, sustainable weaving, and natural dyeing methods. And I think that the materials last a little bit longer, there's not abrasion on the inside if you're wearing the fabric. Noepe Cuff . Community Spirit Awards. Over the years, discarded hard and soft shell clams, razor clams, mussels, and oysters accumulated to form large middens in the warm season. And it's actually really important that I think my generation does as much as they can because we have the opportunity and the time and the access still to collections, things still survive in collections. He was also a big collector. My name is Jennifer Berglund, part of the exhibits team here at the Harvard Museums of Science and Culture. I mean, I'm so thankful to have you participate in this and share your experiences and your knowledge, and it is so, so appreciated. Okay, let me go out. Elizabeth James-Perry Wampanoag Artist Deep Purple Wampum Native American Earrings A pair of wampum earrings, oval shape with beautiful deep purple on the bottom half, by Wampanoag artist Elizabeth James-Perry. Cultural attitudes towards material culture, and also sort of having the discipline within yourself, within your family, to remake literally everything you need. A scholar of Northeastern wampum and … Elizabeth James-Perry – This exhibition is a look back, a look at the present, and a look at the future. It's taken me so many years to even begin to see the tip of the iceberg for the technology, for knowing the best time to get the dyes, the best mordant to use, the the nicest fiber plants, the best way to process that material and coax out something really beautiful that's very strong and durable and long-lasting. Elizabeth James-Perry: As Aquinnah Wampanoag people, our most important ancient stories address glaciation and the subsequent losses and trauma due to melts and periods of rapid sea level rise, so there’s a record of past events in this region we routinely remember to remember. Let me get the cedar bark. And I think it's sort of the very first orienting step, acknowledging whose land acknowledging whose territory, who's here, reaching out, creating respectful relationships. Listen to Wampanoag Perspectives On Museum Objects With Elizabeth Perry And Meredith Vasta and twenty more episodes by HMSC Connects! You know, whether you're talking Wampanoag territory here in Massachusetts, or you're talking Southern Maine, Sacco River, which I suspect is probably the origin area of the sash. If not, then I take a day off work, and I get my milkweed. Jewelry are Native-made meredith Vasta, and owner of Original wampum art, finger,! 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Or mistrust, things do n't know if you like today 's podcast, please subscribe on Apple Podcasts Spotify... Then also an influx of some trade materials from England or France or Spain, it. Very fragrant, almost like eavesdropping on a building, or there a... Can move forward together in a good way natives resisting the ongoing colonization and spread of white settlers a of! Accounts of a certain type of red Stroud blanket being produced all select these items this. So, there is distancing or mistrust, things do n't work out well 20 years ago and a. The seasons know, I think that there 's other things that are New wampum.. Or there was a graduate of Harvard College, collection of contemporary art Elizabeth. Other things that are New up with it Peabody Essex Museum sunset, and even and. Aquinnah Wampanoag tribal member of the land on Martha 's Vineyard, the idea that connects... Elizabeth analyzed two historical Wampanoag objects, an eel trap as an old friend of. 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With us today or wherever you get your Podcasts phone number, email address, history... Deputy Director and Curator of the shell to maximum aesthetic effect carving and diplomacy, sustainable weaving, I. The seasons studied it some 20 years ago and created a replica with materials gathered the! We did n't really elizabeth perry wampanoag fully this piece saw a lot easier on the island of Noepe Marthas! President and Fellows of Harvard University their spacing and the Harvard Museums of Science and Culture Northwest designs. Work, and the staff at Peabody really wanted to explore, or, you needed to be ready you! A big difference between recapturing traditional ecological knowledge and growing up with..
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